YOU'RE CORDIALLY INVITED Starring: Will Ferrell, Reese Witherspoon, Geraldine Viswanathan, Meredith Hagner, Jimmy Tatro, Stony Blyden, Leanne Morgan, Rory Scovel, Jacki McBrayer, and Celia Weston Director: Nicholas Stoller NICK Considering it stars Will Ferrell and Reese Witherspoon, You're Cordially Invited is straight out of the 2000s. Evoking the memory of films such as Bride Wars , I can't say it adds anything to the comedy battleground genre, staying on par with many of the other entries. There are some decisions late in the film that hurt my overall rating, but for the majority of it, it's an average film. Inoffensive, yet likely to be forgotten once the year turns over. What shouldn’t be forgotten, however, is Geraldine Viswanathan. She’s enjoyable here, and it’s time we start seeing more of her. QUENTIN There are a few moments in You’re Cordially Invited when it seems like writer-director Nicholas Stoller wanted to let Will Ferrell cook in his trademark improvisational style, but they’re buried under so many lazily unfunny jokes, you wonder why they cast Ferrell at all. Alongside that, Invited has one of the laziest R-ratings I’ve ever seen, amounting to nothing more than a couple shoehorned-in F-bombs. Frankly, this dated movie feels like Stoller either self-sabotaged or the studio had too heavy a hand in the final cut because there are shadows of glimpses of a comedy that could have been entertaining. As is, though? RSVP No. PRESTON I entered You’re Cordially Invited with extremely low expectations, and should you choose to do the same, there is an outside chance that you may consider it…not half-bad. I even, surprisingly, avoided the all-too-familiar moment when I thought that I was hating what I was watching. It is ridiculous and sweet, and sometimes funny, and sometimes cringe. But for me, it was a perfectly acceptable way to pass time on a day I was feeling a little poopy. Besides low expectations, an appreciation of Will Ferrell’s style of comedy is also a prerequisite, but that’s too easy. AMARÚ I’m happy to say that You’re Cordially Invited is genuinely heartfelt, hilarious, and more than your run-of-the-mill romantic comedy. Will Ferrell and Reese Witherspoon go toe-to-toe with ridiculous (but not overdone) antics and insightful arcs that’ll make you look at your own familial relationships more closely, but it’s Leanne Morgan and Rory Scovel who threaten to steal the entire movie. Writer-director Nicholas Stoller gives them the biggest laughs while also delivering an honest examination on how people’s differing beliefs can inhibit their ability to listen and empathize. He had no right creating something this good with this premise, but it works. Bravo. ADRIANO You're Cordially Invited has an easy concept, a proven comedic director in Nicholas Stoller, and two great lead performers, one of whom is a comedy legend… so why did it fall so flat? It just comes down to it not being very funny. It has some heart, some chuckle-worthy moments, and there's nothing insincere about it, but Will Ferrell and Reese Witherspoon are sadly not amazing here. Ferrell, in particular, feels weirdly neutered (Jimmy Tatro and Keyla Monterroso Mejia are innocent, though). For a streaming movie, it's simple enough; just be aware you may not laugh as much as you'd hope.

ONE FAST MOVE Starring: K.J. Apa, Eric Dane, Maia Reficco, and Edward James OlmosYPU Director: Kelly Blatz AMARÚ Eric Dane keeps doing this thing in One Fast Move where he repeatedly says “naw, naw, naw” only to eventually say, “wait… maybe I can” (or some variation of this sentiment). That feeling of seeing the same thing over and over kept recurring throughout the runtime because I’ve seen a lot of this movie’s plot points in plenty of other films. None of it is bad, but much of it is quite ordinary. Dane often overdoes his dead-beat characterization, but a solid KJ Apa and an always stand-out Edward James Olmos balance him out enough to get through the film unbothered. PRESTON One Fast Move is the epitome of a cliché racing movie, and it follows its pre-planned map to a T. The predictable character arc follows along the cursive wavelength path of troubled start to things looking up, then the decline before inevitable victory. There are some pedestrian inclusions for the motorcycle fan that include Sturgis shirts, a Tail of the Dragon ride, some motorcycle lingo, and fast bikes, but the true racing enthusiasts will likely walk away feeling let down. Ultimately, an unremarkable, middle-of-the-road offering that steers well clear of the fast lane.

RAGING GRACE Starring: Leanne Best, Jaeden Paige Boadilla, Max Eigenmann, and David Hayman Director: Paris Zarcilla This film has been reviewed by Quentin and Paige as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. QUENTIN Raging Grace does several things very well. The acting is solid, the score is one of the best horror scores I’ve heard in quite some time, and an overbearing feeling of dread permeates the viewing experience as you’re constantly waiting for the other shoe to drop. That said, once it dropped, so did my general interest as major reveals land with more of an “oh” than an “oh!” Also, writer-director Paris Zarcilla clearly wants to talk about social inequalities (it’s often reminiscent of Parasite ), but those themes aren’t fleshed out terribly well. It’s not a total dud, but I didn’t love it either. PAIGE Raging Grace showcases the hardships and struggles one may face due to immigration and colonialism. While the film is categorized as horror, I personally think it plays more like an atmospheric mystery movie. With that in mind, one of the major things this Fantasia offering has going for it is its score, which enhances the ominous tone that lingers throughout. That said, there needed to be way more rage from Grace for this film to be titled Raging Grace .

SUZE Starring: Michaela Watkins, Charlie Gillespie, Sara Waisglass, Aaron Ashmore, and Rainbow Sun Francks Directors: Dane Clark and Linsey Stewart PAIGE Suze is a straightforward tale of personal growth, but it does a wonderful job of striking a balance between drama and humor. It glosses over some of its deeper emotional beats, but still manages to be a funny and somewhat unexpectedly touching movie, mostly because of the fantastic chemistry between our two leads, Charlie Gillespie and Michaela Watkins. The most delightful aspect of this film is their improbable friendship due to their ages. Suze is an all-around lighthearted and charming film that will warm your heart. KATIE I don’t think Suze is quite as wholesome as it thinks it is. The film relies on the dynamic between Suze (Michaela Watkins) and Gage (Charlie Gillespie), and whilst they each give good performances with a sufficient number of heartwarming moments between the two, I found that some of the emotional beats fell flat. I also struggled to empathise with Suze individually - let's just say I disagreed with her parenting style. Nonetheless, Suze is an easy watch with some funny and touching moments that luckily does not overstay its welcome.

EL CONDE Starring: Jaime Vadell, Gloria Münchmeyer, Alfredo Castro, Paula Luchsinger, Catalina Guerra, Marcial Tagle, Amparo Noguera, Antonia Zegers, and Stella Gonet Director: Pablo Larraín KATIE El Conde is so many things at once: scathing, gruesome, wickedly funny, absurd, and beautiful. Director Pablo Larraín re-imagines the infamous Chilean dictator, Augusto Pinochet, as a literal blood-thirsty monster who, much like his real-life legacy, refuses to die. This is an ingenious way of confronting Chile’s traumatic recent past, allowing Larraín to make a mockery of the dictator, showing him miserable and wasting away in his crumbling mansion. The black and white cinematography is striking and brimming with visual references, creating an absurd alternate reality that traps all the characters within it. This film will stick in my mind for a while. QUENTIN In its entirety, El Conde isn’t a movie that I enjoyed. Despite the intriguing and outlandish logline, it’s surprisingly boring, but it’s possible that it works better for people who have some knowledge of former Chilean dictator Augusto Pinochet, of which I have very little. Perhaps that is why the satire didn’t hit for me. That said, director Pablo Larraín was able to create a surreal and haunting atmosphere that is well suited to the content, but this mix of Knives Out and Roma falls into the “movies I respect more than like” bucket. ADRIANO It’s hard for me to say that El Conde doesn’t overstay its welcome a bit, but I still feel it accomplished its goal of being a sharp and funny satire. Granted, some of its ideas overshadow the overall goal, and it leans a little too hard into the gore and surrealist elements, meaning the film’s political angle easily gets lost in the madness. But Pablo Larraín’s direction and Edward Lachman’s slick black-and-white cinematography make this a unique viewing experience that, for better and for worse, is unlike anything you’ll see this year. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.

LIFT Starring: Kevin Hart, Gugu Mbatha-Raw, Vincent D’Onofrio, Billy Magnussen, Jacob Batalon, and Jean Reno Director: F. Gary Gray QUENTIN You know, it doesn’t take a lot for a heist movie to get a passing grade from me, but goodness gracious, it’s not like Lift even tried. Between the terrible CGI, uninspired characters, flat humor, and poorly done trope after poorly done trope, not even my unashamed bias for all things heisty could get me to engage with this thing. If this movie is good for anything, it’s as something to be shown at Kevin Hart’s Netflix intervention: “Look, Kev, we respect your hustle and work ethic, but stop making these terrible Netflix movies. You’re hurting yourself and those around you. Have some respect for yourself.” AMARÚ You have Vincent D’Onofrio, Gugu Mbatha-Raw, Billy Magnussen, Jacob Batalon, Jean Reno, and Kevin Hart in a heist film directed by F. Gary Gray. That is the biggest layup ever for a fun-ass time; all you gotta do is write some semblance of coherence. But noooooo, Lift was apparently written for TikTok. It throws every single heist trope (both comedic and dramatic) at the wall with no logical progression, and tries to cover it up with cool music, flashy action, “lovable” characters, and fast-paced direction. Lift is just a poorly constructed shell enclosing the cast and crew’s obvious paychecks. PRESTON Lift is director F. Gary Gray’s latest release, and Kevin Hart’s most recent Netflix offering. How else can I describe Lift ? Well… imagine watching The Italian Job , but instead of being good…it isn’t. Don’t get me wrong, the cinematography and style are decent, and reminiscent of many good heist movies. The problem seems to lie in writing that produces utterly flat dialogue that the actors don’t even know how to deal with. Any attempt at injected charm falls short, the jokes don’t land, and the “tense” moments are the only times you want to laugh. To quote Liar, Liar , “I’ve had better.”

SEVEN VEILS Starring: Amanda Seyfried, Douglas Smith, Vinessa Antoine, Rebecca Liddiard, Ambur Braid, Michael Kupfer-Radecky, Mark O’Brien, and Lynne Griffin Director: Atom Egoyan NICK As a last-minute addition to my TIFF schedule this year, I was not expecting Seven Veils to floor me like it did. The way director Atom Egoyan explores trauma by using parallels between life and the remounting of Salome is sensational, and it’s all held together by a fantastic performance from Amanda Seyfried. Egoyan takes you through the inner workings of the opera, with a focus on everything from the cast to the props designer, and manages to make it all gripping in what must be viewed as his career highlight. A true triumph across the board. KATIE I found it difficult to decipher the point of Seven Veils. Admittedly, I was unfamiliar with the opera Salome before watching, which may have contributed to my confusion, but I was still left struggling to decipher the uneven tone and various dramatic subplots. The film throws up some contentious issues without properly addressing them, including ambivalent attitudes towards intimacy co-ordinators, which were tough to understand alongside the themes of childhood trauma and inappropriate relationships. Nonetheless, Amanda Seyfried’s controlled performance is fantastic, and she was the only character I cared about, especially as she made the oddly unnatural dialogue emotionally engaging. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

BIOSPHERE Starring: Sterling K. Brown and Mark Duplass Director: Mel Eslyn NICK Biosphere is a trip. Led by two fantastic performances from Sterling K. Brown and Mark Duplass, this film is great at subverting expectations. Brown and Duplass play off each other well, with Brown in particular giving what is his best feature performance to date. Biosphere was a late addition to the TIFF schedule last year, with little information about it, and that was the perfect way to debut, harkening back to when Cloverfield Paradox had its surprise release on Netflix (but with much better results). It’s best to keep the mystery of this film intact, but make sure you check it out. QUENTIN In what may be the most Duplass-y movie of The Duplass Brothers’ catalog, Biosphere is out there (a tremendous compliment). It’s hard to discuss details without exposing things you shouldn’t know (go in as cold as possible), but Biosphere is a strange examination of friendship, partnership, masculinity, identity, and survival. Sterling K. Brown, who continues to prove he should be elevated to A-List status, is terrific, while Mark Duplass essentially plays the same person he always does (it’s not a bad thing, but he only has one speed as an actor). This odd duck won’t be for everyone, but I loved it. AMARÚ It’s best to go into Biosphere sight unseen, but understand that Sterling K. Brown (Ray) and Mark Duplass (Billy) are the last two humans on Earth; then let their unique charm and chemistry carry you until the story kicks in. And boy does it kick in. Trust me when I say that they skillfully and hilariously navigate topics of science, politics, sexuality, friendship, prejudice, belief, gender identity, and learned behavior all in one setting, in under two hours, with just the two of them speaking and reacting to each other. This charmingly interesting look into the human psyche is nothing like you’ve ever seen before. PAIGE I’m telling you right now, Biosphere is not what you expect it to be at all. It’s an ambitious little film flowing with interesting themes that are executed in such an odd, but intriguing way. The film loses itself a wee bit with its pacing and simplicity, but I promise you this singular location flick is one worth checking out. This unique and claustrophobic gem allows Sterling K. Brown and Mark Duplass to build great chemistry between their characters, almost like they are Mario and Luigi. This film was reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

TICK, TICK... BOOM! Starring: Andrew Garfield, Alexandra Shipp, Robin de Jesús, Vanessa Hudgens, MJ Rodriguez, Jonathan Marc Sherman, Joshua Henry, Bradley Whitford, Judith Light, and Ben Levi Ross Director: Lin-Manuel Miranda JAMES Writers are desperate to know that their toils and sacrifices won’t be in vain, but there comes a moment in every writer’s life when they must set their ego aside in order to become a true artist. Tick, Tick…Boom! perfectly captures that moment. Andrew Garfield is the heart and soul of the movie, and his passion and energy are infectious. He once again demonstrates his talent, range, and authenticity as a performer. For every laugh-out-loud joke he delivers, he also sells a raw, painful monologue on the loss of his friends to the ravages of HIV/AIDS. JACOB Perhaps less polished on the technical side than it could have been, Lin-Manuel Miranda’s directorial debut is a fire-starter. Tick, Tick…Boom! is almost certain to capture the heart of anyone who watches it and is guaranteed to charm Broadway and musical fans of all kinds. Andrew Garfield is sensational as Jonathan Larson, his performance carrying both the film and the music to heights it otherwise might not have reached (“30/90” being a particular standout). Robin de Jesús also charms as Michael, often propelling the more emotionally-driven through lines forward with grace and deep empathy. My former-theater-actor-heart loved it. ADRIANO As someone who loves musicals, I loved nearly every moment of Tick, Tick…Boom!. For a directorial debut, Lin-Manuel Miranda knocks it out of the park with a style that feels like it’s from someone who has been directing for years. Andrew Garfield gives a career best performance, showing the manic energy of someone on cocaine and genuine heartbreaking emotion. From a storytelling standpoint, the film explores an extremely relatable crisis with an upbeat, sharp, and anxiety-inducing energy mixed with catchy-as-hell musical numbers. It all blends together perfectly. This is a very promising debut that I couldn’t get enough of. NICK 2021 will likely go down as the year of the musical thanks to some gems for the genre. However, Tick, Tick... Boom! is the best of them all. From someone who isn’t a big Andrew Garfield fan, he is flat out excellent here. Whether it’s acting or singing, he commands the screen in what may be the best performance of his career. The other major standout in this film is the music. The tunes are catchy and memorable, and the way director Lin-Manuel Miranda incorporates them deserves praise as well. A solid debut behind the camera for Miranda.

PET SEMETARY: BLOODLINES Starring: Jackson White, Forrest Goodluck, Jack Mulhern, Henry Thomas, Natalie Alyn Lind, Isabella Star LaBlanc, Samantha Mathis, Pam Grier, and David Duchovney Director: Lindsey Anderson Beer This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of Fantastic Fest 2023. NICK If you're looking for Pet Sematary: Bloodlines to justify its existence, it doesn't. It's pretty much a rehash of the original story of Ludlow with a different coat of paint. Having said that, as a standalone horror, it's a nice introduction for a new generation to the Pet Sematary concept. Even if you aren't new to the franchise, there’s still enough thrills and chills here to provide a satisfying watch. The backstory of Jud Crandall (Jackson White) may be unnecessary, but it still makes for a more interesting story than the 2019 remake of the 1989 original. QUENTIN As a huge fan of 1989’s Pet Sematary (it remains one of the scariest movies I’ve ever seen, in fact), the idea of a prequel that explores the lore of the titular graveyard had my attention immediately. However, Bloodlines isn’t really interested in exploring that lore in any meaningful way. Director Lindsey Anderson Beer mostly just throws jump scares, blood, gore, and slight nods to the IP at the screen in hopes that it will be enough. Sadly, it is not. When you pair that with very mediocre acting, you end up with a franchise entry that embodies its most known quote: “Sometimes dead is better.” KATIE Pet Sematary: Bloodlines left me wondering, “who asked for this film?” It gave me the same bad taste that I’ve experienced with many recent horror prequels or reboots. It’s a totally lifeless, uninspired re-telling of the original story, featuring underdeveloped characters and lackluster performances (with the notable exception of Isabella Star LaBlanc). The film rests on relationships between lifelong friends, as well as fathers and sons; however, we never explore their emotional bonds, and therefore have no reason to be invested in them. This franchise did not deserve to be resurrected. CALEB Pet Sematary: Bloodlines is a lifeless prequel that loses all the terror the original film brought to the table. Pet Sematary (1989) worked so well because it was simple, with the draw of the story coming from the characters and their choices. The cemetery itself was just a plot device; we didn’t need a movie about its origin story. Bloodlines is needlessly complicated and entirely aimless, and it seems disinterested in exploring loss in any meaningful way, choosing instead to bore its audience to death with terrible characters and convoluted world-building. Just like everything else in the pet sematary, this franchise should’ve stayed dead. PHILL Pet Sematary: Bloodlines might just be a serious contender for dullest movie of the year. This uninspired horror has nothing going for it, outside of some very cheap gore effects (most of which are done off screen) and extremely predictable jump scares. To top it off, every single performance in this film is completely wooden; however, in the actor’s defence, the script is so weak that they had very little to work with, anyway. Sadly, there is not a single redeeming quality in Bloodlines that makes this film worth watching. The entire film is as generic as the title.

CLOWN IN A CORNFIELD Starring: Katie Douglas, Aaron Abrams, Carson MacCormac, Vincent Muller, Kevin Durand, and Will Sasso Director: Eli Craig KATIE Clown in a Cornfield is a slasher film I would recommend to those who don’t like slashers. From the outset, it self-consciously employs tropes in an effort to take a modern approach to the genre, with satisfying and creative kills that don’t indulge in the exploitative gendered violence common of its predecessors. The performances are great, striking a balance between seriousness and B-movie excess, and I laughed out loud more than a few times. However, the mystery surrounding the clown is obvious early on, and it needlessly over-explains itself in the final act. BODE Director Eli Craig made a name for himself over a decade ago with Tucker & Dale vs. Evil , a loving parody that took many clichés associated with horror and twisted them on their head, providing plenty of laughs and gore in the process. Clown in a Cornfield sees Craig taking a somewhat more serious (but still self-aware) approach, and though it never really elevates itself beyond its YA trappings (especially in its generational commentary) or its televisual lensing, it’s still a fun enough slasher that delivers what it promises: a clown, a big cornfield and some old-fashioned bloody mayhem. NICK I will give Clown in a Cornfield credit for trying something outside the box because this isn’t your typical slasher. That doesn’t mean it's good, though. Yes, it’s filled with forgettable performances and pedestrian kills, but the biggest sin is the way the premise is fumbled. What could have been a fun meta angle just turns into a campy adaptation of The Boy Who Cried Wolf . Even with that direction, however, there was still a chance to salvage it if only Frendo had an Art the Clown aura, but it’s not even close. Just another forgettable antagonist in another forgettable horror film. ROBERT I appreciate the newfound recognition that B-level actors have regarding the worthiness of starring in or contributing to a fun horror experience like Clown in a Cornfield . It checks all the boxes: clowns, murder, cornfields. But beyond that, it is easy and breezy enough to stay inoffensive. It is super tropey and some of the best jokes are spoiled in the trailer, but if you rode for Thanksgiving , you will find value in this effort. Just remember, the real villain isn’t the homicidal clown, but high fructose corn syrup.

THE SUPER MARIO BROS. MOVIE Starring: Chris Pratt, Anya Taylor-Joy, Charlie Day, Jack Black, Keegan-Michael Key, Seth Rogen, Fred Armisen, Kevin Michael Richardson, Khary Payton, and Charles Martinet Directors: Aaron Horvath and Michael Jelenic JACOB The Super Mario Bros. Movie is full of colorful animation, tons of easter eggs and references, and a healthy helping of nostalgic cues, both musical and visual. That said, it’s still a Mario movie made by Illumination, and how you feel about the former heavily depends on your patience for the latter. The film is okay (even decent for kids), but lacks the heart that would have made it soar. There are some neat sequences, but they’re overshadowed by a lazy, bare-bones narrative with little character development and next-to-no emotionally investing moments. It’s not a disaster, but certainly not a success either. ADRIANO We finally have a faithful movie adaptation of the most popular video game ever…and it’s fine. If you’re like me, a lifelong Mario lover, you’ll have some fun with The Super Mario Bros. Movie . I was constantly pointing at the screen with delight at every easter egg. The voice cast is serviceable (at worst), the animation is perfect, and the score is way better than it needed to be. That said, that all comes at the expense of a well-written story and effective emotional stakes. It has only been a few days, but I’m sad to say this movie has already started to fade. AMARÚ Like other successful video game adaptations, the creators of The Super Mario Bros. Movie understood the source material’s strengths: years upon years of “ooh, I hope they include that in there” from which to pull. And pull they did. However, instead of banking on “because we can” nostalgic energy, the film entertainingly interweaves its numerous references into heartwarming familial themes, surprisingly dark humor, and an invested voice cast (Bowser’s voice is forevermore Jack Black). There’s nothing particularly great about the film, other than what makes the game special, but that’s more than enough for a fun time.